Author: Ronald E. WisePublisher:ISBN:Size: 18.20 MBFormat: PDFView: 6086DownloadRead Online
The high quality of the scoring and the imaginative combinations of instruments
provide this study with a wide range of examples of successful scoring
procedures. Three features stand out in the scoring of Wilder' s Quintet no. k ;
blend, unusual use of single instruments, and unusual combinations of
instruments. To some extent these features are the result of Wilder's empirical
approach to composition which contrasts with the more formal musical training of
the other three composers.

Author: Gene D. PhillipsPublisher: University Press of KentuckyISBN: 0813139511Size: 26.63 MBFormat: PDF, KindleView: 3660DownloadRead Online
Meanwhile, with preproduction in full swing, Wilder and Hayward put together a
crack production team, including cinematographers Peverell Marley (The
Greatest Show on Earth, 1952) and Robert Burks, who was shooting The Man
Who Knew Too Much. Editor Arthur Schmidt was cutting his fourth Wilder movie,
and composer Franz Waxman was scoring his fourth Wilder picture. Hayward
and Wilder agreed that “it would add immeasurably to the impact and authenticity
of the film to ...

Author: Publisher:ISBN:Size: 56.17 MBFormat: PDF, KindleView: 5683DownloadRead Online
Number one mime was "Joe Wilder — -74 points." Number two was "Speed
Lewis — 69." Number three was "Terry Burton, with Both Wilder and Lewis had
tough competition to face that afternoon, whieh might cut their scoring down.
Here was where Terry Burton was going to narrow the gap. He started right in,
caging a rebound before the Allison defense got set. That was two points. Five
seconds later, he bounced one in from mid-court, and that was four points. Allison
began to get ...

Author: Philip LambertPublisher: University of Illinois PressISBN: 0252094840Size: 70.40 MBFormat: PDF, DocsView: 4898DownloadRead Online
6o Wilder got involved in film scoring through his friendship with Hugh Mar— tin,
the songwriter of standards such as “The Boy Next Door” and “Have Your— self a
Merry Little Christmas” (both from the Wncente Minnelli/Judy Garland film Meet
Me in St. Louis [1944]). In the late 194.05 Martin had written songs for a film
byJerome Hill about the artist Grandma Moses, and Wilder had done all the
arranging, not only for the film itself but also for an expanded Grandma Moses
Suite that was ...

Author: Desmond StonePublisher: Oxford University PressISBN: 9780195357288Size: 49.41 MBFormat: PDF, MobiView: 5470DownloadRead Online
In 1960 he received a call from people in the fashion department of Life
magazine. They were about to do a motion picture based on their fashion
photographs since their beginning. "It was a so-called package deal," Wilder
recalled. "Had I written for a small combo I'd have made a fair amount of money.
But I kept thinking of all those great players I had come to meet through John
Barrows. So before I knew it I was scoring a twenty-minute movie for seventeen
musicians. So of course I ...

Author: Billy WilderPublisher: Univ. Press of MississippiISBN: 9781578064441Size: 49.33 MBFormat: PDF, ePubView: 7439DownloadRead Online
We spend three months shooting, three months postproduction — editing and scoring — then a short vacation, and we start again." "It's such an ordeal to write," Wilder has said, "and such a pleasure to direct." The Wilder-Diamond scripts are
models of economy. "They're lean and specific and simple," says Jack Lemmon. "
There's not an extra 'if,' 'and,' or 'but.' In four pictures I have never heard of an
actor wanting to change a line, which is common on other sets. No, there was
one in ...

Author: Mary-Ellen KelmPublisher: UBC PressISBN: 0774820322Size: 79.63 MBFormat: PDF, ePubView: 6850DownloadRead Online
New organizations such as the Rodeo Association of America, the Cowboys'
Turtle Association, and the Cowboys' Protective Association bureaucratized the
sport, introducing standardized rules, scoring, and point systems. On many of
these issues, cowboys and managers agreed. Both wanted an events schedule
that would be free of timing conflicts. Constructing programs so that rodeo events
were separated from performances of trick roping and riding also served the
pragmatic ...

Author: Georges-Claude GuilbertPublisher: Cambridge Scholars PublishingISBN: 1443808474Size: 78.65 MBFormat: PDF, ePub, DocsView: 483DownloadRead Online
As he walks, in a somewhat stiff approximation of a stroll, we hear a jaunty
version of “La Vie en Rose” played by the violins and woodwinds—a scoring
code for “cute” in the musical semiotics of the period. She turns and sees him,
and not a word passes between them. Her eyes remain fixed on him, while his
eyes shift to the umbrella that he now holds awkwardly in both hands, a man-
abouttown uncomfortable in his role. Suddenly, another man passes by, and the
middle-aged ...